Category Archives: Technology

Currently being between jobs, I figured that I should use some of my available time to tweak my home network and brush up on some skills whilst waiting for companies to get back to me.

A while back, I replaced the router provided by my ISP with one that is basically better. After getting it setup, I soon realized that it lacked one useful feature that my previous router did. It didn’t automatically register devices in a local DNS.
This was a bit of a pain so I decided to use my Synology NAS as a DNS server, as it has a package for it. I did a very rough-and-ready job at the time, just to basically store a few local addresses and forward the rest via my router to my ISP. No reverse-lookup functionality on the internal network, though.

This was all very well for a while. It did the basic job and was certainly “good enough” for a home network. However, with jobseeking taking longer than I would like and me starting to run out of things to fill the hours with, I figured that now was the time to do a proper job of it. Finish it off so it all works nicely, even if it’s a bit overkill for a home network, and to actually increase my knowledge of how DHCP and DNS work. After all, even when I am in work, I’ve never really had the opportunity to get into the network. And even if I had, playing around with a live network just to see how it works is very much a Bad Idea.
Potentially breaking my single-user home network to improve it and learn how it works is a more acceptable risk.

What it Now Does

DHCP (dynamic assigning of IP addresses) is done on the Router.

I have set registered addresses for much of my home equipment.

In some ways this is overkill, but it can be useful.

It’s good practice.

It means that my at-home network has fixed IP addresses for various devices but I can bring them elsewhere and have them “just work”.

There are (currently) three items that have purely static addresses:

The router.

An old PC running Proxmox VE as a virtual host. (I’m wanting to brush up on my VM skills as well.)

A very entry-level managed switch.

My NAS is running a DNS server, which the Router is set to give out as the main DNS server for my home network.

The DNS server will query external hostnames via my ISP’s main DNS servers but for anything on the internal-only domain, these are stored on the NAS.

Entries for internal servers.

A few (not all) bits of home gear.

Reverse DNS lookup is now implemented.

Up until now, I could only query an internal hostname to get its IP address.

Now I can also query the IP address to get the resulting hostname.

Not really essential on a home network but if I’m going to implement DNS at home, I might as well do it properly.

Next Stage

This is a step forward from what I had but still not perfect. If I have to reboot/update the NAS, or it breaks, I lose DNS resolution. Including for external sites. Not really an idea situation.

After this, I plan to implement a secondary DNS server elsewhere on the network. I am either going to use a small VM (Virtual Machine) running on the Proxmox host to run this or I shall use an old Raspberry Pi I have lying around. The latter is underpowered for any heavy lifting these days but as a backup DNS it would probably do fine.

All in all, it’s a little bit more complex than a small home network needs to be. However, it does leave everything a little more robust than just leaving it to the router.
Aside from that, the past couple of days’ geekery has given me a lot more insight into DHCP and DNS. I’d say it was definitely worth the effort.

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Let me get this out of the way first, I’m not any sort of Business Mind. This is just something I want to explore “out loud”.

Having said that, there’s been a lot of talk around the UK anime fandom over the past few months with regards to streaming services. We don’t really have a UK-based streaming solution for anime simulcasts over here. Over the recent years, we’ve had:

Crunchyroll: Probably the strongest option available so far but they’re an American company and are not always able to acquire English-speaking rights for areas outside of the US and Canada. Plus, as we’re not their primary audience, trying to get the UK rights isn’t exactly a priority for them.

Animax UK: A UK-focused arm and Sony-backed, theoretically Animax should be able to do well over here. So far, they’ve not quite seemed to grab the fandom the way that Crunchyroll has. And, despite being a UK arm, they’re still part of a multinational brand.

Viewster: A European-based streaming video platform that branched out to really embrace Anime. However, after a really strong start at treating the UK market better than it’s been treated in a while, they also branched out to really embrace the American market. Or, to be fair, a more global market from a US subsidiary. Then when the OMAKASE experiment failed, the American arm closed and it was back to only having an ad-supported SD-only offering.

Wakanim UK: Short-lived venture from a French VOD platform. Website and social media presences now defunct.

Daisuki: Japanese operation streaming anime globally. Obviously, not a strong contender to full a UK-focused niche but having a Japanese company trying to provide a worldwide legal method of online distribution is not bad thing.

Funimation: A formerly American-only streaming service, and home video distributor, who brought their newly-revamped “Funimation Now” to the UK earlier this year.

So, long story short, we do seem to have a fair few alternatives that either offer a really strong service or who at least have the unrealised potential to do so. None of them have a real UK focus, though.

UK-based

What we don’t have is a streaming solution with a strong UK focus and a desire to really provide a service that is comparable to that provided by Crunchyroll. So, I’ve found myself wondering what would be needed to put one together.

There are several factors that would have to be considered. The impact of these, and the solutions to them, would vary depending on whether it was a brand new venture or, otherwise, what kind of company it originated from. As a whole, however, these are the things that (as a viewer) I suspect would need to be dealt with.

Content

So, yeah, an anime streaming service would require anime to stream. That would probably make a good start.

Joking aside, though, content is key to a streaming video service. The natural starting place for this would probably be to work alongside the current UK-based home distributors, where they hold the streaming rights.
For simulcasts, this would be a case of making the service known to the companies, such as Anime Limited, who pick up streaming rights but don’t have a streaming platform of their own.

Going forward, there would also be the option to bid for the rights directly from Japan. I get the feeling, however, that this would probably require deeper pockets and/or a proven track record, both of which would be easier after getting some successful seasons under your belt.

For back-catalogue titles, these would probably always come directly from whoever already held the UK rights. This would then depend on whether they thought a streaming outlet would raise awareness of the show or cannibalise potential sales.

One important factor here would be to ensure that any deal is mutually beneficial. Yes, UK distributors are going to be happy if people are watching through legal means as opposed to illegal ones, but they’re still going to be concerned if people stream their shows instead of buying the DVD or Blu-ray. Having any deal make it financially worthwhile would be important, obviously. Cross-promotion would probably help, too. Also/Soon-to-be Available From __ on Home Video on a show page could be useful. Possibly even with affiliate links to various online retailers.

Exclusivity Not (Necessarily) Required

This may sound backwards to business-minded people but, from a viewer’s perspective, having exclusive rights to a title runs the risk of annoying/alienating the fanbase. Permanent exclusivity does, anyway.

It’s the flip-side of the coin regarding monopolies. Competition is good but, when combined with exclusivity, fragmentation is bad. People resent feeling forced to subscribe to multiple different services for what is basically the same content. Especially if other regions have the same shows all available in one place. Even putting the costs aside, having to switch apps or websites (or even hardware platforms, more on that below) just because you want to watch a different show can be very off-putting. Complementing current services will get people wanting your operation to grow and improve. Competing with an inferior or untried service, however, risks people wanting you to pack up and leave.

A useful service over here would be one that shared rights with other platforms. In the beginning, at least. When trying to build up a user base, you want to get some credibility behind you before even thinking of becoming the Only Place To Go for too many titles.

Obviously, having some sort of must-watch show would be useful and there will always be titles that simply don’t/won’t/can’t get picked up for the UK by one of the current platforms. Where possible, these would be a good starting place. “Sniping” the local rights for something that an existing service like Crunchyroll has (or is likely to have) in another region doesn’t usually go down well. Bringing over a show that CR would almost definitely have no chance of bringing to the UK, though, tends to leave people with a more favourable opinion of your operation.

Taking this further, picking up catalogue rights to a show you couldn’t simulcast can still be useful. Even if a show has a very limited first-run somewhere else, adding it to your back catalogue later will likely prove useful. More accurately, not doing so could prove problematics as people may ask “Why would I want to subscribe to a service that doesn’t even carry Titanic Ninja Deathgods as back catalogue?”

If you can’t pick up a show as a simulcast, try to get the rights later. It will help. Similarly, if you have the main license rights to a show and want to be the exclusive simulcast, offer out the sublicense to other services once the season run is complete.

Website and Apps

This is probably the first visible technical hurdle to overcome. People don’t see your data centre, content delivery network or traffic stats. They do see your website and any apps you have. It’s not that the infrastructure side of things isn’t important (see below) but it’s all wasted if your site looks amateur and your apps are either buggy or missing on key platforms.

Look at other legal streaming sites. Don’t rip of their designs, that would clearly be a bad thing. However, try to aim for a similar level of polish where possible. Also, look at illegal streaming sites. Try to look more professional than them, otherwise people may not realise you’re a legit service at first. I have seen “The site looks a bit dodgy, so I didn’t realise they were legal” a few times about more than one service.

Basic things like a queue, decent listings pages and a competent search function are a must. They may not seem like much but, for a user perspective, convenience and ease-of-use is key. Legal streams haven’t totally eliminated illegal downloads but there are many people who now favour sites like Crunchyroll or Netflix over torrenting shows because it’s just so much easier. If the illegal streaming sites, or competitor’s legal sites, are more convenient than your then people aren’t going to use your service.

Make sure your website’s video player works well. Chances are that contractual obligations will lumber you with having to rely on Flash, to enforce content restrictions, so try not to make it any more of a hassle than it has to be. users these days really don’t like Flash. Also, browser developers seem to be making slow but constant progress away from using it. If trying to get it to work for your site is too much of a ballot, people won’t use your site.

Regarding apps, trying to hit the main hardware platforms fairly quickly would be a good move. AppleTV and Roku would probably be your best starting place for streaming-player apps. iOS and Android, for mobile viewing, are also pretty much compulsory. Similarly, games consoles are very important platforms to target, although these do seem to take longer to get released. Especially on Sony consoles. Despite this, though, they’re pretty common media-capable devices, and there is a fair bit of crossover between gamers and anime fans so a chunk of your potential audience already has them. And, really, who wants to sit at their computer desk to watch a half-hour show when their Playstation or Xbox is connected to the TV in form of their armchair or sofa?

A Windows 10 universal app would also be really useful. Not only does this target another mobile platform but it would also work on a Windows 10 Desktop/Laptop. Perfect for those people who really hate Flash. Also useful for those who have a Windows-based HTPC.

My personal thoughts would be to have apps for at least one streaming box, one mobile platform and one games console at launch, with the others already in late development or testing. Although some people are fine with streaming things directly to their computers, there are many people who really like to watch TV shows on a TV screen, or on the go. A lack of apps can be a real dealbreaker for some.

After that, things getting Kindle Fire, Chromecast and Smart TV apps would help round things out. These may be less popular than the other options, hence a lower priority, but they are still important platforms. Fire TV and Chromecast have very affordable options and some TV or Blu-ray players have Smart TV app support built in. Meaning that some people already have multimedia capability on their existing equipment. Buying extra gear sounds like an easy enough solution but people don’t always have the money, HDMI socket or space available to add to their AV setup. Being asked to spend money on this additional hardware as well as a potential subscription fee isn’t always going to go down well. Yes, it will involve additional development time and costs but it’s certainly worth looking into.

Now, obviously, any brand new service wouldn’t be able to get an app out on every platform immediately. However, any service that doesn’t seem to have many apps out, or even in the pipeline, will probably get ignored by armchair or mobile viewers.

Infrastructure

This is going to be the next important thing. How your site and service looks is the most important factor, how well is actually works is a very close second. Having your videos load up quickly and in a consistently good quality is essential to the experience. Delays, buffering and constant quality shifts tend to go down badly with viewers. Make sure that the CDN offering you use is up to the job. If you have a lot of simulcasts, making sure that the episodes propagate through the network (especially at the higher qualities) quickly is going to be key. Not everybody is going to want to watch the episodes at the exact moment of release but having them viewable and at good quality very shortly after your go-live time is going to matter to some. If nothing else, failure to do so tends to result in negative word-of-mouth. This will sour sour offering even to those who aren’t quite so bothered about immediacy.

Geographical Restrictions

This is something that comes with both pros and cons. Being a UK (and probably Ireland, going by most licensing bundles) specific service makes this a lot easier to deal with. If all of your members are supposed to be in the same region, you only need to set a single restriction. You won’t ave any problems trying to juggle which shows can be viewed in which regions. you can either show them or you can’t.

Another advantage is that if you’re only offering to a single region, your infrastructure (see above) only needs to be geared towards that area. It doesn’t matter how well your CDN operates on a global scale, just that it works really well at a national level.

There are still drawbacks. For one, you still need to lock it down to only work in the UK (and Ireland). Geographical filtering isn’t an exact science. Misidentification, although rare, isn’t impossible. Oh, and these things can be faked. So you’ll need try not to have people affected by false positives, as well as not wanting to sink too much time and resource into a solution that can never be 100% effective, all whilst doing enough to satisfy your contractual obligations from the licensor.

Not having to worry about multiple regions and differing restrictions across many different titles will make it a lot less of a headache, though.

Advertising and Subscription Tiers

Having an ad-supported “free” option is going to be essential for any anime streaming platform. It’s pretty much the standard operating procedure at this point. Both using advertising on the site and some sort of inline video adverts during the episodes. Although, in that latter point, trying to make sure they’re not too frequent or too repetitive is probably a good idea.

It doesn’t matter how much your free offering can’t survive without advertising, inflicting the same, single advert on your viewers, every show, every day is just going to piss them off. This is best avoided.

When it comes to what is available to free users and what is limited to paid subscribers, finding the right balance is going to be key. I don’t think there’s any one correct way to go about it but there are a few things to keep in mind.

Simulcasts

You’ll probably want some sort of limit on simulcasts for your free viewers but not something too restrictive. There has to be a some advantage for paid users, yet there’s still got to an incentive to favour the free streams over less legal solutions. Personally, I think Crunchyroll has the best idea i’ve seen. There’s a one week delay before free users can watch a current show but then once it’s up, it’s up. So if you miss a few weeks, there’s not locked out entirely like with the services that only have free episodes up for a few weeks.

It’s a bit different in Canada, where free users only get access to simulcasts and not catalogue shows. Even then, though, each episode is available for 13 weeks. Meaning that you can catch up at pretty much any time during a season.

Catalogue

This is a bit trickier to work out. Having the full back catalogue being an incentive for paid subscriptions is no bad thing. If nothing else, having most of the catalogue only being visible to paid subscribers means that your level of paid subscribers can help inform how much to spend on older licenses.

I’d say that having some of the catalogue available to ad-supported members will help draw interest in the service as a whole. People often need to try out something before knowing if they want to put money into it. And being able to marathon a few older shows may just be enough to hook people in.

At what point you limit it really depends on a combination of your costs, your income and how you want your offering to come across. Having some shows rotate in and out of the free library may be one way of doing it.

Marketing and PR

Being visible to the fandom is be pretty damned essential. Show up at events, even fairly small one-day conventions. Be visible on Anime forums. Do press releases and interviews with fandom websites. Be friendly, don’t come over as spamming, and be prepared to give honest answers to some pretty tough questions and criticism. The fandom tongue is sharp at times but there is often useful feedback if you’re able to tough it out.

Last, But Not Least, Money

Ultimately, this is the most important factor. It goes last on the list, though, because it is dependant on the previously identified factors. Once you have all of these identified, you can then figure out your expected costs versus income. This will probably then require shuffling around the priorities of those factors but you need to know what they are before you can start to figure this part out.

You’d also need to then figure out your initial investment. This will vary, depending on some other deciding factors, but there will be some up-front costs that need to be covered. This is also going to affect the priorities of what gets implemented when.

Variables

Many of the previously listed factors will depend on the nature of the company trying to build such a service.

New Entry

Whether it’s a brand new company or a subsidiary of a company who hasn’t branched into media distribution before, this is probably going to have the highest hurdles to overcome.

It is likely (although not certain) that you will have a lower level of starting resources than a company that is already involved in media distribution. You’re also likely to have fewer relevant professional connections. This doesn’t make things a complete non-starter but it will require starting smaller. Fewer platforms at launch. Fewer shows at launch. Few, if any, exclusives.

In some ways this could be the hardest sell to the fandom. An unknown name, a small catalogue. Not too many people would want to put down money for something like that. This would be where trying to grow connections and reputation would be essential.

Try to work alongside existing distributors, getting them on-side. As a general rule, the UK Anime Industry tends to be fairly close. Sure, thee are disagreements, different viewpoints and a certain level of mostly-friendly rivalry. On the whole, though, they’re all part of a fairly small niche market. What’s good for the market as a whole is going to benefit the specific companies. So if you can make a decent case for being a positive force father UK industry, you’ll likely be able to work with them.

Existing Company

Of course, if a UK-based service was to grow out of an existing VOD or physical distribution company, they may already have right level of funding or connections. They may even have some rights already. Unlike a brand new entry into the market, who would need to build all of these up.

Media Industry (general)

Whether or not a company specialises in anime or streaming video, already being in media creation or distribution would give them a decent headstart. They’d already have a decent amount of general knowledge about how things work. Also their legal and business mindsets would already be somewhat aligned to how things needed to be done. They’d also probably have some level of reputation attached to the company name that would help whilst getting set up.

Similarly, they’d already be likely to be using technology specific to the industry general. This would mean that they’d already have working relationships with and/or knowledge of companies that deal in the infrastructure and technology. Even when branching into something new, being able to already trust your suppliers to give you sound advice and decent service is pretty essential.

Anime Distributor

If one of the existing UK distributors were to step into the streaming ring, they’d already have a good grip on how anime licensing and marketing works. Also, as Japanese licensors seem to be more interested in trying to bundle the home and streaming rights together, being able to pick up both and already have something to do with them will be quite useful.

Besides, viewing habits are changing. For things like anime that don’t tend get onto traditional broadcast TV over here very often, the home release was as likely to be picked up by the “Watch Once” crowd, as opposed to those who wanted to watch repeatedly or who like physical copies/extras. Streaming takes a lot of that away, so why not benefit from it yourself? Keep your customers coming to you, regardless of how they consume media.

The other obvious advantage to an existing anime company going into streaming would be already have the relevant business contacts and probably already having the rights to some older shows. Or at least a good chance of being able to acquire them if they were still available.

One potential drawback to this route would be that such a company would probably be restricted to only being able to show “their” titles. There’s no guarantee that one of their rival companies in the home space would want to hand over the rights to stream a show. A the very least, I’d expect it to be the exception and not the rule. So we’d still end up with a UK service that was potentially limited in scope.

VOD Platform

If a UK-based company were already involved in streaming video on demand, whether already operating a general video service or being more involved in the backend/infrastructure side of things, a streaming company branching out into anime would also already have a good head-start over a complete new service.

They would already have a good grip on the technology involved and how to actually go about streaming video content. Even if they were a newcomer to the anime industry, they’d have a proven track record of video distribution which would certainly help with credibility.

In some ways, this would perhaps be the most likely way of making a successful entry. As long as they can get used to how anime licensing and fandom works, they’d already have a general knowledge of dealing with licensing agreements and customer feedback.

Conclusion

I think something like this is necessary. Yes, it’s nice that the international streaming companies seem to be taking the Uk seriously at the moment but they’re still going to be focused primarily elsewhere.

Besides, as streaming increasingly becomes the way to initially or primarily consume content, the UK-based companies are going to be increasingly restricted to the more collector-oriented side of the fandom. The more casual shopper just isn’t going to be quite as bothered as they were a decade or so ago.

If the UK anime industry is to continue to be a strong presence alongside the fandom, I think it is going to have to break into streaming. Otherwise, most of the custom from the casual viewers is going to head out via America.

I’ve blogged about Viewster, both specifically and when talking about anime streaming in general, multiple times now. I’ve also posted a vlog and a followup on YouTube.
Since then, though, I’ve been keeping an eye on what the more general opinions are regarding the OMAKASE service.

From what I can tell, on the whole it sees to be going down quite well. Especially in the US, as they lack the much higher shipping fees that Canada and the UK incur. The problem, from my point of view, is that the main focus of any praise for the service is the giftbox aspect and nothing else.

True, the HD streaming and the digital extras haven’t been implemented yet but it really seems that people are looking at OMAKASE as just an “Anime Lootcrate”.
Ironic, since Lootcrate themselves have recently announced an anime-specific offering.

I’ve seen OMAKASE mentioned as a really good giftbox service that just happens to be attached to a fairly good anime streaming platform and throws in ad-free as a nice bonus.
If that’s what Viewster are aiming for then fair enough. The problem for some of us, though, is that if your main interest in the anime streaming then you’re a bit of an afterthought, audience-wise.

So, here’s the problem. People who like merchboxes are completely catered for, as long as they’re in the right region for shipping. Fans of streaming video, which may possibly be some of the people following a video streaming company, are left out in the cold.

Outside of the US and can’t justify the higher shipping charges? No premium video for you.
Live in the UK and just want to see the exclusive simulcasts in HD and without ads legally? Sorry, out of luck.
Live in a region not covered by OMAKASE shipping at all? Sorry, premium video still not allowed.

And here’s where it starts to sting. Viewster are a European company with their Head office in Switzerland. Certainly here in the UK they’ve been a nice little addition to the video-on-demand scene and I would have to assume that the same applies in mainland Europe.
Similarly, their recent expansion into Anime simulcasts and catalogue streaming has been a much needed breath of fresh air over here. Again, I can only really speak for how it seems here in the UK but I would guess that the same applies elsewhere in Europe.

In the UK, at least, they were beginning to cover the holes not covered Crunchyroll’s licensing and were offering a much stronger service than alternatives like Animax and even Daisuki. Licensing by American companies was having a bit of an adverse effect over here. Funimation picking up the English language rights almost always froze Crunchyroll out of the running for a UK stream, as they are competitors in America. Viz picking up a show in America may put it on Crunchyroll over there but it also increased the chances of their European branch picking up the license as well. And that would mean Animax over here, as they’re the local competitor.

Viewster’s main strength over here was that they had a real passion for anime which they were showing to the local fanbases that were often overlooked by more America-focused companies. They just needed to improve a few things, like their queue, and have an ad-free subscription which enabled HD video. Which we were told was “coming soon”.

And in June 2015, having had a bit of an American presence for a while, Viewster opened its American subsidiary, Viewster Inc. It is at this point that their focus seemed to change a fair bit. Helped, in part, by the American CEO also being involved in their global strategies, like premium streaming.

Yes, the one thing that Viewster most needed as a European entity to stand equal with the American-focused companies was now being spearheaded by their own American subsidiary that was also tasked with expanding its American market.
Shortly after this, OMAKASE was announced.

Since then, their entire marketing push has been towards OMAKASE. Talking up their merchandising box with little mentioned about the video side of the service. Worse still, the HD video side of things still hasn’t appeared despite being much requested (and hinted at)since before OMAKASE was even an official “thing”.

In various interviews regarding OMAKASE, it seems that they are wanting to go for the all-in-one offering to try and distinguish themselves as not being “just another anime streaming service”.
The problem is, it’s only really in America where they need to do that. Here in the UK, and likely elsewhere in Europe, there’s nothing wrong with being “just another anime streaming service”, especially when catering for titles that otherwise wouldn’t be legally shown outside of Japan or America.

This is where, I think, attitudes in the UK start to sour a bit. Viewster’s biggest advantage was that it actually seemed to give a damn about our segment of the market, unlike a lot of the America-focused (or America-exclusive) services. They were covering some of the licensing gaps that the American companies were leaving in the UK landscape.
Now they just feel like another America-centric service concentrating on the American market with anywhere else just thrown in as an afterthought.

With no HD-only subscription option, premium video is either tied to a costly giftbox or frozen out entirely, depending on where you live. And if Viewster are the only people legally streaming a show in your region, you’re basically screwed.
Whilst they focus on the market that is already extremely well catered for when it comes to anime streaming.

Focus on Video

My hopes for the (near) future are that they ease up on the giftbox push and focus on the streaming side of their offerings.

Offer an ad-free premium video option that is standalone. People have been asking for this for a while.

HD video, The shows are made in HD, so that should be the next “big feature” in development.

The website and apps need a bit more work to have proper sorting and filtering.

Apps on the Sony consoles would be nice, too.

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Last year, I put up a quick comparison chart of the various Anime streaming options available here in the UK. Since then some things have changed but the overall view doesn’t really seem to be that much better. Not yet, anyway. Things are moving forwards but the current state-of-play looks like this.

Wakanim/Anime Limited

Wakanim’s UK experiment has come to an end. I get the feeling it wasn’t doing too well. They had some definite technical issue to sort through but it sounds like they decided to just focus on their home market back in France.

Anime Limited are still picking titles up for streaming, though. For a while they were operating through Vimeo but are now using the existing streaming options.

Daisuki

Daisuki are still a bit of an odd bunch, in my opinion. They are still, currently, primarily web and mobile-app powered. They don’t have any real connect-to-TV options, which is a major failing in my personal opinion. They do have plans for console apps, apparently, which will help a great deal.
For anyone who mainly watches content on a phone, tablet or web browser, though, this is not going to be a drawback at all.

They appear to be ad-supported, with no current subscription option to watch ad-free. Again, for me personally, this is a dealbreaker. For other people, though, this isn’t much of a stumbling block at all. it’s all down to personal preference.

On the flip-side of things, they are now a part of Anime Consortium Japan. Comprised of several Japanese companies, including Bandai Namco and Aniplex, this gives them direct links to companies involved in Anime production. In addition to this, ACJ sits on the production committee for some shows directly.
As a company specifically involved in international streaming, this means that some upcoming shows automatically have an official outlet outside of Japan.

Crunchyroll

Still currently, the heavy-hitter in Anime streaming, Crunchyroll‘s presence outside of North America has had its fair set of ups and downs.

On the plus side, they have now rolled drama and manga into their basic Premium package, with the higher-tier “Premium Plus” give some additional benefits. However, as some of the benefits aren’t quite as useful outside of North America, this means that there is still a good value method of international subscribers having full access to the basic media content.

Recently, they have finally been able to get their apps onto Sony’s Playstation platforms. So the PS4, PS3 and Vita are all covered now. They now show up on all major consoles and quite a lot of streaming boxes. Their app platforms now also give access to the ad-supported free subscribers, rather than being premium-only.
On the other hand, they are currently moving away from Smart TVs to the dismay of anyone who was using them.

For the UK (and anywhere outside of the US and Canada, to be honest) their catalogue is still a bit of a mixed bag. Some shows have their international streaming rights with other countries and some shows just don’t have English-language streams anywhere outside of America.
This still causes a bit of friction as UK premium members are paying the same (technically fractionally more) for the same actual level of service, but there’s no getting around the fact that we have access to a smaller catalogue.

Animax

Animax UK occupies an interesting niche in the UK Anime fandom. A lot of us dislike them. On the other hand, they are still around and still adding (slowly) to their service so they clearly can’t be a complete flop as they’d’ve closed down by now if they were struggling badly.

They still operate with the two-week ad-supported free access to their simulcasts with the paid subscription giving ad-free access to their complete catalogue. They have also recently added iOS and Android to their supported platforms, and the PS4 joins the PS3 in terms of console access.

However, their less-then-perfect reputation isn’t exactly unfounded. They often seem to aquire (or at least announce) their simulcasts partway into the season and their uploads aren’t always the most punctual. This combined with a lack of queue/watchlist (which, currently, only Crunchyroll sees to have) means that they’re not exactly great value when it comes to simulcasts.

I suspect that their main strength at the moment would be in their back catalogue. If a show’s been available for a year or more, it hardly matters at that point if it went up on time or a few weeks late.
Plus, they do still have some shows that just aren’t available on any other service at the moment. Also, unlike Viewster (see below) their back catalogue is available ad-free to subscribers.

Viewster

Speaking of Viewster, they’re a fairy recent entry into the Anime side of things. They’ve been around a few years as an ad-supported free video on demand service but have recently expanded to include a hefty Anime back-catalogue and have also had a healthy selection of simulcasts in recent seasons courtesy of Anime Limited.

Based in Europe, although recently expanding into America, they definitely cater for the UK audience pretty well. They also have apps iOS, Android, several Smart TVs and set-top boxes (no AppleTV as of yet) and have started to enter the console app market on the Xbox 360. Hopefully with more platforms to come.

The currently have no ad-free subscription available which, to me, is a dealbreaker. However, for those who don’t mind watching ads, it does mean that they have a very large catalogue of TV show, movies and Anime all available to watch for free.

They are on the verge of entering the paid-subscription model, too. At the time of writing this, they are heavily promoting their upcoming OMAKASE service which is a combination of ad-free streaming and a Lootcrate-like giftbox.
As of yet, there are no concrete details about the video side of the service. So we don’t know if there’s a gift-free version, whether the same apps will work or if they use new ones, or anything further.

New AppleTV

Not a service in its own right but the recent announcement of an upcoming revised model with an App Store means it warrants a mention of its own. If for no other reason than the same information applies to all services so far.

Currently, none of the Anime streaming services have announced tvOS apps. I would be very surprised if none of them had them at least in the planning stages, though.

Crunchyroll features on the current AppleTV and has iOS apps. Animax has recently added iOS apps to its repertoire and has a very limited TV-connected selection so far. Viewster has an iOS app and has openly stated that they are planning to expand what platforms they are available on.

Other Services

Other VOD services such as Netflix and several paid video platforms such as iTunes do also have a selection of Anime available for streaming and/or download.

Legal options for streaming recent anime shows have made major inroads in recent years. Yet people still embrace fansubs. Whether from downloads or via unofficial streaming services, these options still gain a lot of views for various reasons.

The problem is that there are several reasons that people have for using fansubs and you can’t easily eliminate them all. However, there are several things that could be tackled. Also, because many people are swayed by a combination of reasons, the more that can be tackled, the less common it will be.

Cheap

OK. Let’s get this out of the way first. People can be cheap. Being able to get hold of multiple shows, ad-free and in a high-definition format is a big temptation.

For some, it is the only reason. For others, it is the tipping point when added to the reasons below.

Knowledge

Not everybody knows what legal platforms are out there. As a general rule, if you’re a part of a community that keeps a list of legal options then you already know they exist. Some people genuinely don’t know.

On a related note, not everybody knows of every service. Here in the UK, there is a big feeling that Crunchyroll is the only service that people have really heard of. In the past couple of years, when shows haven’t been on Crunchyroll over here, but were on other services, people genuinely thought there was no legal UK option at all.

Similarly, not a lot of generic video-on-demand platforms make a huge deal of their anime catalogues. So people with access to Netflix might not even realise that they have a fairly sizeable anime back-catalogue on there.

Fragmentation

Not every platform has every show. So even if Crunchyroll, for example, is seen as “The Anime Streaming Service”, they don’t have the licenses for every show. This ties into knowledge, above, in that titles are wrongly assumed to be unavailable because people haven’t heard of the service that gets the local rights.

It’s one thing over in America, where a fair few of the licensing companies have their own outlets and there are more generic streaming options (like Hulu) for them to partner with. Also, over there, titles showing up on multiple services is relatively common.
Here in the UK, a lot of licenses still get picked up by companies without their own platform. Worse, sometimes it is the English-language rights they have overall, which just happen to include the UK rights. And as Crunchyroll is a competitor over in America, them sub-licensing to Crunchyroll for the UK streams is rare. Not unheard of, but rare all the same.

Unequal Services

The different streaming platforms have their own strengths and weaknesses. Some go wider than anime. Some have larger catalogues. Some have apps on multiple platforms. Some have paid subscriptions to go ad-free No one service ticks all of the boxes.

This, when combined with multiple services and potentially multiple subscription fees, can be quite frustrating. Especially when shows exist on a service you use but a region you don’t live in.

Missing Shows

Some shows simply don’t get official releases in English, or any given non-Japanese language. For these shows, it does become a choice between “pirate” and “do without”. And not everyone wants to miss a show, especially if it is the main one they wanted to watch in any given season. However, this does keep fansubs as an active option in people’s minds. After all, once you’re used to using them for one thing, it’s hard not to see them as an option for others.

Platform exclusivity, regional lockouts and delays that cause the official version to go up hours (or even days) after a translated fansub hit the internet don’t help much, either.

Translation Choices

Here is where it starts to get tricky. We go from already shaky moral ground to something even more so, based purely on personal aesthetic preference. However, fans have their own preferences on how they like their translations. With fansubs, you can drop and pick up distributors depending on your preference. Even with much more legal products such as The Bible or classic French literature, you can “shop” for the translation which is more accurate or more to your personal preferences.
With contemporary foreign language products (such as anime), however, there is only One True Translation. If it isn’t your preference, tough. If it is jarring and distracting to you, tough. If you know what they really said, or can tell (from other audio-visual cues) that something really doesn’t match up, tough! You’re stuck with them.

I have more to say on this subject, but it’s potentially a blog post of its own.

This can all lead to getting a fansub of a show or episode. Maybe instead of the official release, maybe in addition to it. (Some things make more sense after having looked at more than one translation option)
Either way, though, it provides more excuses for people to rely on fansubs. Especially as, in this case, a translation that works better for someone is going to be a “superior” product for that person.

In Conclusion

These aren’t the only reasons but they are some of the ones used. None of them are easy matters to address, as they are mostly tied into how current licensing rules work. Even knowledge of services is hampered by business reasons because, as a general rule, one service isn’t going to recommend a rival owing to shortcomings in functions or content.

Ideally, the industry has to band together as “The Industry” to combat this. Less exclusivity, more sharing. Competing on service level, not exclusive shows. Cross promotion, because surely someone using a rival is better for business as a whole than using an unofficial download.

One other thing that the various companies need to do is to try to be a wide-reaching as possible. Licensing companies need to get things on multiple services and regions. Services need to work across multiple platforms. Expecting people to settle for a limited offering just isn’t going to work when there are free alternatives out there, legal or not.

Lastly, accepting that there is no single customer type, but that catering to multiple tastes (including translation tastes) is going to keep more people “legal”, as it takes away the reason people have of going elsewhere.

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Recently I have been playing a Playstation3 game called Ar Nosurge: Ode to an Unborn Star. It was made by Japanese games company Gust as a distant prequel to its Ar Tonelico series. I am closing in on the end of the game, now, but it is starting to leave a bad taste in my mouth.

There is no single, large fault with the game. There have been, however, a lot of small issues which, overall, begin to stack up against it.

I also need to note that, unlike previous Gust games, newer releases like this one are localised and brought to the West by Koei Tecmo (as their Japanese arm now owns Gust), instead of Nisa.
This isn’t necessarily a bad thing, or the cause of the problems. It does mean, though, that current and future Gust games are being brought t the West by a company that doesn’t yet have a long history with the ongoing franchises.

Surge Concerto

In Japan, this game is the second in the Surge Concerto series. The first game, Ciel Nosurge, was a Playstation Vita game with online connectivity where you get to know the character Ion and a long and involved history of the setting and characters of this series. This online data, then, could be imported into Ar Nosurge and somewhat affect how Ion’s story unfolds in the second game.

It was decided, for whatever reason, not to bring this outside of Japan. Perhaps they out that the “Life Simulation” concept wouldn’t work well for a Western audience. The problem, though, is that we are left with the second part of a story which is intricately built up and prepared in the part we don’t get over here.

You need to find a story guide to get a good feel of what is going. and which people knew who. I, for one, was very confused initially when Ion knew characters from the other playable group of characters because I didn’t yet know that they had all grown up together.

Aside from the pure story side of things, the online component of Ar Nosurge was taken out, as it had no counterpart data to play with, removing an optional boss and removing the ability to unlock a costume change function. Minor but annoying.

No explanation, as far as I can tell, was made regarding why this choice was made. If there was one, it is hard to track down.

Localization and Communication

The English language localization was problematic. Names and terms were translated inconsistently, as if only half of the people rewriting the text were given the final canon spellings and terms. NPC dialogue was also hopelessly mangled. Sentences were spoken out of order and possibly by the wrong people. It also, apparently, didn’t get much of a testing phase before the non-Japanese release, so none of these issues were picked up.

This is where it started to all fall apart.

Players all began to bring this to the attention to the American and European arms of Koei Tecmo. There was not a huge amount of communication coming back, though. The American arm, without mentioning specific flaws, put out a feedback questionnaire. The European arm would respon directly to people but did not put out a public notice addressing these issues.

Then both arms went very silent. Not even a single word to say whether a fix was even being worked on,

This week, on Wednesday November 12th, the silence was broken. Koei Tecmo Europe announced that a patch was “scheduled”. This was vague, as it didn’t state whether it meant work was just starting on it or if it was nearing completion.

Koei Tecmo America then announced that the patch was out in the American regions.

It wasn’t until Friday, after a bit of hassling towards them, that Koei Tecmo Europe finally mentioned something at really needed to be said in the first place. The patch has been submitted to Sony Europe and is currently awaiting approval and release. A lot of tempers could have been kept is this had only been said from the outset.

Overall

The real problem I have with this whole release is that there have been several minor issues, all of which could have been contained by much better communication.

By ignoring requests for clarification and giving late information and pleas for “patience and understanding” long after people were annoyed, they themselves helped the situation escalate from something minor into something more.

All that it really needed was the following being stated promptly and publicly:

We hear the feedback and are passing it along to the developers.

The text issues in the game are being addressed. We will let you know when a fix is close to release.

The patch has now been completed and submitted for approval. The release will likely be staggered by regional approval processes but work is complete and the fixes should be live to everyone before too long.

Just a little bit more openness, at all stages of the situation, would have saved a lot of hassle. Instead, I am finding my enjoyment of a good game somewhat marred by treatment of its international release.

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Digital comics platform ComiXology recently made a very sudden change to its operating model. On Saturday April 26th 2014 the in-app storefronts stopped working, with absolutely no prior warning that this was going to happen.

Android users required an update, which replaced the old Google Play compatible storefront with one requiring their main ComiXology account have a payment method on file. Aside from the inability to use Google play credit anymore (which is a major issue for some) there was no real loss in functionality. As long as one is in a position to use the credit card or PayPal account.

iOS users, however, bore the brunt of the change. This was no mere upgrade. There was a new app that needed installing. This itself then required logging in with (or creating) a ComiXology account, to tie existing purchase to the account that would be needed going forwards…
…in the shiny new Reader-Only App.

Cue major outrage.

On a Saturday.

The poor PR and tech support (file migration was not always smooth) guys must’ve been working their socks off last weekend to deal with the aftermath of this one.

ComiXology have desperately been trying to put a positive spin on this as being ultimately good for the customers. Apple’s App Store does, it has to be said, have rather strict rules regarlding in-app purchases. Apple automatically get a 30% cut of each sale. Also, there are rules regarding what kind of content is allowed to be purchased in-app. So technically this is a good change.
Only the web store was always an option before. So if people wanted restricted content then they could do. And if someone wanted to support ComiXology directly, they always had that option.

The problem now is that choice has been taken away. You must use the webstore if you are an iOS user. You must buy directly through ComiXology, regardless of tablet platform.
If you favour in-app purchases, or if you only run through mobile store credit, you no longer have those options.

Needless to say, it has been a bit of a PR disaster for them. Their App Store average ratings (depending on country) have dropped to between one Star and one-and-a-half Stars. People are deleting the app. People are unsubscribing from other Amazon services, or at least taking the opportunity to review whether they need those subscriptions at the moment or not. And the very people who probably would have been won over in a day or so have been alienated by the overall bad handling of the whole situation.

They have severely negatively impacted their customer loyalty. There’s a chance it may just be a case of “Nerd Rage” and that it will all settle down quickly. There’s always that chance, though, that this is going to leave people with a sour taste for a long while yet. Only time (and sales figures) will tell.

Since then, there have been a few improvements. Their main website’s front page actually lists the series title as well as episode title when mentioning their latest releases. And the PS3 app does now respond properly to the media remote.
So they are clearly making improvements, and ones based on customer feedback at that.

My problem, though, is that the improvement aren’t happening fast enough. The website and PS3 app are still less than ideal, and there aren’t any other apps out yet. There is still no queue/watchlist feature. There are still adverts for paid subscribers and there are still delays in episodes being release. Anywhere from a day or two to a full week behind when Crunchyroll release the episodes to their regions.

And, yes, all this for a higher price per month than Crunchyroll’s Anime-only subscription.

At this point in time, I cannot really recommend this service. Not unless someone is desperate to watch the shows they have via legal means.

The really sad thing is that, this season like other seasons, some of Animax’s UK licenses (Mekaku City Actors and The Kawai Complex Guide to Manors and Hostel Behavior, a.k.a. Bokura wa Minna Kawaisou) are shows that CR has the except-UK rights for. And they are releasing them on time, and on multiple platforms and ad-free for paid members.

I want to like this latest entry to the UK Anime Streaming scene but, really, I just can’t. They are now into their third season of mishandling shows that Crunchyroll are doing a good job of elsewhere. Without some serious improvements, and fast, they really need to stop picking up the rights to what would other be Crunchyroll’s catalogue.

I hate to say it. I’m known for speaking my mind, though, so I’m not going to hold back just because I wish the situation was otherwise. Animax still have a long, long way to go. And, going by other people’s opinions online, very little time left to get there.

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Well, what with all the Heartbleed shenanigans going on at the moment, there are many of us faced with the daunting task of changing all of our passwords. Just to be safe, plus it is good practice to change them at least occasionally, Y’know?

I have also seen people talk of various password management solutions. So I thought it was as good a time as any to mention what I use. When I was looking into solutions last year, I wanted something that wasn’t tied to any one single online service. yet I still wanted something that I could keep updated between multiple devices and platforms.

As such, I am using a system based around Password Safe, and a Mac/iOS derivative called PWSafe. I find it useful because of the following reasons:

The official site gives links to compatible apps on multiple platforms

Individual safes are encrypted, preferable with a secure/long passphrase.

Even if no encryption is perfect, it still beats a plaintext file, a nice open notebook, or post-its at the monitor.

Accounts can be stored in groups and subgroups.

By default, account details open with the password and notes fields masked out, to stop shoulder-snoopers. But you can toggle them to visible as and when required.

The main program and the compatible apps (the ones I’ve tried, anyway) allow the copying of any account (username, password, etc) to the clipboard for easy entry.

Passwords are cleared form the clipboard after a period of time.

PWSafe, at least, allows you to set the duration.

You can set an account entry to remember a certain amount of passwords, should you need it.

it gives a timestamp of when you created and last changed any given password.

Random passwords can be generated within the apps.

In addition to this, PWSafe can use safes that are either local to the computer/device or online via either iCloud or Dropbox. Or you can just manually copy the safe file between computers and devices.

Windows installation of Password Safe pointed at the Google Drive copy of the safes.

For anyone with an Android device, I was looking into this as well when borrowing an Android tablet recently. There is a Password Safe compatible app with an accompanying sync tool that, amongst other services, can talk to a Google Drive account.

Unless you are purely Apple based or purely on an internal system (where you could point/sync multiple computers to a shared network location) it does require a little bit of manual interaction to work across devices. However, it does give me the freedom of not being locked into one particular site. And the bit of effort needed is well worth the convenience of pretty relatively secure password manager synced between platforms.